Idea Of Art Research Articles

Analyzing experimental music performance in "AquaSonic" by Between Music

This essay analyzes the performance of experimental music in Between Music’s Aquasonic Project using a qualitative approach. We investigate the creative combination of music and underwater performance art by analyzing various sources such as literature and audio-visual information found on platforms like YouTube. The essay explores the distinctive difficulties and artistic opportunities that arise from performing music underwater, focusing specifically on Between Music’s Aquasonic Project. The project explores the ways in which it challenges the conventional norms of music performance by combining avant-garde music, visual arts, and scientific investigation. The study reveals the complex and diverse aspects of the Aquasonic Project, emphasizing its dependence on specialized instruments, the acoustic characteristics of water, and the physical interactions between the performers and their underwater surroundings. The essay offers a detailed analysis of the experimental music performance landscape in the Aquasonic Project by combining insights from study literature and analysis video on YouTube. It highlights need to work together across several disciplines, using advanced technology and exploring new artistic ideas to expand the limits of musical expression. Moreover, the study proposes possible areas for future investigation and artistic development in the field of underwater music performance, highlighting its capacity to evoke wonder, stimulate contemplation, and alter traditional concepts of musical engagement.

Coding Dancing Figural Animations: Mathematical Meaning-Making Through Transitions Within and Beyond a Digital Resource

We investigate three 8th-grade students’ mathematical meanings developed in the context of using linked representations to generate animations of figural models tuned in musical rhythm in “MaLT2,” a programmable Turtle Geometry in 3D resource affording dynamic manipulation of variable values. We adopted a modified version of the UDGS (Using, Discriminating, Generalizing, Synthesizing) model, introduced by Hoyles and Noss in 1987, in order to frame and analyze students’ mathematical meaning-making process involving setting out goals; posing conjectures; using mathematical ideas to test them; and exploring, generalizing, and expanding these ideas. This dynamic process was contextualized and connected to a flow of two different types of transitions: (1) transitions within the different representations of MaLT2 and (2) transitions beyond MaLT2, among the representational contexts of the digital microworld, artistic ideas, and abstract mathematics. In our analysis, we use this theoretical concept to trace the kind of mathematical meanings connected to multidisciplinary notions embedded in dance and music, such as synchronicity, symmetry, periodicity, and harmony, emerging from this learning context. We also look into the way these mathematical meanings were gradually evolved from being implicitly integrated in digital and artistic ideas to being reflected on and generalized.

Mykhailo Verikivskyiʼs “Five Pieces For String Quartet on Folk Themes”: Principles of Folklore Processing

Relevance of research. The introduction to the musicological using of the manuscript of M. Verikyvskyi's early work, which was previously only briefly mentioned in the literature, is connected with the current scientific trend of studying little-known pages of the history of Ukrainian music of the era of national liberation struggles of the 20th century. The return of the forgotten artefact of the composer's heritage is intended to contribute to the establishment of more complete and objective picture of the development of genres, stylistic trends, individual authorial style, etc. The purpose of the study. The purpose of the article is to explore the principles of processing folklore in the M. Verikyvskyʼs cycle "Five pieces for a string quartet on folk themes" in the genrestylistic aspect, to find out the extent of the influence of theoretical views and didactic instructions of B. Yavorskyi on the writing of the work, to outline the meaning of the composition in the context of the evolution of the author's creativity and directions development of Ukrainian quartet music of the 20th century. Methods. The article uses source, genre and style studies, structural and intonationalconstructive methods of analysis of musical work. The results and conclusions. The composer's notes in the margins of the manuscript are commented in the context of the artist's creative life (1921), social-political and aesthetic-artistic trends of the era, communication with the teacher of composition. The stylistic features of neofolklorism were revealed in the work: appeal to folk archaic and principles of folklore thinking, combination of folk elements with technical and compositional means of the modernist era, subjugation of the folklore theme to an individual artistic idea. The influence of the theoretical and didactic instructions of B. Yavorskyi, M. Verikyvskyiʼs teacher at the Kyiv Conservatory, can be observed on two levels: 1) general aesthetic views on the use of folklore in the composer's work, 2) specific compositional and stylistic techniques in the plane of lado-harmonic processes (the role of the tritone, constructive and modal continuous exposition), dynamization of the metrorhythm, texture, formation. In the composer's creativity, this work initiates the genre of instrumental folklore composition, prepares the appearance of large-scale neo-folkloric compositions (oratorio, symphonic uite, ballet, opera), tests for the first time the model of the five-part suite cycle, built on the principles of contrast, symmetry and concentricity. In Ukrainian quartet music, this opus is located near the origins of the folklore line of development of the genres of piece (folk miniature) and suite.

Waste to Wealth: Art Production Formula in a Lockdown Situation

In life, there are negative occurrences capable of throwing humanity into lockdown conditions, like the recent global pandemic - Covid-19, which caused lockdowns to be declared at different places across the globe. This made for the restriction of movement, resulting in the unavailability of raw materials, which in turn halted the production of goods which are not food or medicine. Art was not left out, as its production was equally held in abeyance. This paper projects a formula for continuity in art production in such a situation. Its objectives are to expatiate the basic requirements for art production and propose a viable formula for it in a lockdown situation. The paper employed the internet, analog, and digital libraries to review related literature and works and a descriptive research approach. Findings reveal that the basic requirements for art production are artistic skill, artistic idea; art material(s); and tools/equipment where necessary. Also, the artist’s main problem of unavailability of conventional materials during lockdown can be overcome by employing waste, freely available everywhere, for art production. The paper concludes that employing waste as material for art creation can keep the artist afloat in art production during the lockdown. It is recommended that artists not only employ waste for art creation in a lockdown condition but always for innovation and creativity in art praxis.

Artist Praxis: Studio as a Premise of Knowledge

The goal of this paper is to talk about the idea of art making as a studio art production process and to describe how studio praxis can be a fundamental ground for generating new knowledge in which an artist innovates, discovers, introduces, rejects, chooses, compromises, transforms, and analyses within the premise of making. The studio is defined as an ontological premise (what the studio is) and a methodological procedure (how things are made in the studio). Studio art production shows the studio as a place where theory and practice, thinking and making, meet in making new knowledge.

Mit tricksterski i jego ślady u Schulza

Paul Radin in his classic book dedicated to the trickster in Native American cultures pointed out that this mythical figure appears in cultures all over the world. This “jester’s ancestor,” as Monika Sznajderman named him in her monograph Jester. Masks and Metaphors, is called conjurer, “divine rascal”, and cheater. The trickster is known in various mythologies, so he might be present also in the private mythology of Schulz. The first part of the article is an attempt to compare the father from Schulz’s stories with the trickster. My purpose is not to insist that Jakub = trickster, but to show some similarities between these two figures. In the second part, I describe two analogous scenes of selfcastration (from the Winnebago Trickster Cycle and from the letter of Bruno Schulz to Stefan Szuman). Using Lewis Hyde’s book Trickster Makes This World: How Disruptive Imagination Creates Culture, in which he included interpretations of the works of some modern artists in the context of the trickster myth, I make an effort to look at Schulz as an artist-trickster. The metaphor of trickster refers to those artists who know that the “creative spirit” must abandon concepts that are “exact and predictable.” Schulz implements that model in his critique of European culture, but not only at that point. If we look at the reception of his work in the interwar period, we can see that he was perceived as inconvenient for those who accused him of not fulfilling the postulates that the critic of the 1930s expected. There were objections to his work as apolitical, amoral, propagating anti-humanism, perpetuating chaos and the lack of hierarchy, socially useless. “If art was only to confirm what already had been saved, it would be unnecessary,” he wrote. In that idea of art which is naturally amoral, “a probe sunk into the nameless”, looms the impenetrable face of the trickster, the jester who is an eternal change.

In the Eye of the Tornado: Encounters with Clay—A Relational Materialist Orientation Toward Cultivating Curriculum

This paper follows three student-educators’ journey with clay. Embedded in the contextual space of the studio, the paper considers the complexities and processes involved in cultivating curriculum and thinking with the idea of art as a language. Inspired by the relational materialist approach, Erin, Roselyn, and Colleen enter into a dialogue with clay—embodying one another, entangling with each other, intra-actively doing unto one another, and reaffirming that knowing things is embedded deeply in relational connectivity with the world around us—onto-epistemology. The authors journey together with clay through spinning, twirling, tornadoes, storms, music, chaos, and destruction.

Mondrian in Action! Internet Art Build Using the VR Technology

Western aesthetic is built on empiricism that severs the unification of reality and metaphysics of ancient times. This restricts knowledge to the world of senses consequently shaping our modern way of operating in the world that tends to objectify and separates the world from the self. In doing so, the sense of ‘I’ enforces a viewer to externalize the world. However, with experiential technologies such as VR, this external, objectified world collapses as the viewer becomes immersed in a particular, virtual environment – overcoming the limitation of physicality by being engrossed in information as an extension of self. This paper argues such experience is reflective of an epistemology coming from Eastern cultures and philosophy. Specifically, by examining an early internet art build on VR technology called ‘Mondrian in Action!’ the article critiques the idea of High Art to resist secular fence of knowledge that marginalize other ways of experiencing the world.

Beardsley Movement in the Russian Silver Age Culture

The article dwells on the phenomenon of Russian Beardsleism, which was formed by the influence of the works and personality of the English graphic artist Aubrey Beardsley on the Russian intellectual society at the turn of the 19th – 20th centuries. Being the brightest representative of English aestheticism and Art Nouveau, Aubrey Beardsley became a champion of the ideas of new art for Russia. In his homeland, Aubrey Beardsley managed to make a real revolution in the field of illustration and book graphics, separating them into independent elements of creativity and raising the art of graphics to a completely new, unprecedently high level. No less revolutionary was the behavior of the artist — Aubrey Beardsley turned his life into art, postulating innovative aesthetic and philosophical aspirations by his very appearance. The worth of his personality was undoubtedly comparable to the worth of his works, and one became inseparable from the other. Thus, the very image of Aubrey Beardsley became a symbol of the Art Nouveau era, containing a lot of complex concepts. Therefore, no wonder that the sphere of influence of this master in Russia was extremely wide — not limited only to the field of graphics, it extended from new artistic methods up to the lifestyle and demeanor. The significance of Beardsleism in the Russian artistic life of the turn of the centuries is also indicated by its scope — the most prominent figures of the Silver Age, such as S. Diaghilev, L. Bakst, N. Feofilaktov, and rather obscure A. Silin, A. Arapov and M. Durnov — both those and others experienced a significant influence of Aubrey Beardsley on their works and life.

New Image Painters within the Context of the Pluralist Character of the 1970s

Bu makale, 1970’li yılların plüralist ortamında var olan Yeni İmge Ressamları’nın eserlerindeki dönemine göre yeni etkileri postmodernizm bağlamında ele almaktadır. Bu sanatçılar, 1978 yılında açtıkları sergi ile gündeme gelmişlerdir. Makalede, bir nevi geçiş döneminde yer alan sanatçıların, modernden tam olarak kopamayan ama postmodernden de izler taşıyan yönlerinin eserlerine yansımaları incelenmektedir. 60’lardan itibaren sanatta kavramsal temelli yaklaşımlar artmış, figüratif resmin ve anlatının küçümsenmesiyle birlikte sanatın sergilenebilen, alınıp satılabilen meta olma özelliği de sekteye uğramıştır. 70’lerle birlikte bu durum değişmeye başlamış ve özellikle 80’lerin gelişiyle figüratif resim ve anlatı geri dönmüştür. 70’lerin karakteri plüralizmdir. Birçok yazar ve düşünür dönemin bu çoğulcu-plüralist yapısını ‘postmodern’ olarak tanımlamışlardır. Çalışmalarında figüre, gerçekçilikten çok soyutlamacı, indirgemeci bir anlayışla yaklaşan, karikatür estetiğini yadsımayan bu sanatçılar; ‘yeni’ye yaklaşımdaki farklılıkları, sanatta ‘kötü’yü aşağı bir form görmemeleri ve ‘başarıyla tamamlanmış eser’ fikrinden uzaklaşmaya başlamalarıyla 70’lerden 80’lere geçişteki zemin kaymalarını da işaret etmişlerdir. Yeni imajcıların bir yandan da ‘usta sanatçı’, ‘deha’ anlatısının tükenişini haber verdikleri söylenebilir.

A Photo Book as a Box: On Mladen Teofilović’s work The Core

The history of the photo book is practically old as the history of photography. A photo book is more than just an object with leaves and pages, photographs, with or without text. Throughout The Core, the work of the young artist Mladen Teofilović, the text analyses the photography book as the relationships between text, images, and spectator. According to the artist's idea, the photo book looks like a metal box that imitates a hospital file. Conceiving the work in this way, the artist reveals and interprets the fragments from his life: his struggle with a severe migraine, his attempt to find a solution, to accept his condition and live with it. Teofilović directs his photo book to the spectator, inviting him to take a part in disassembly, analysis and reading where every picture, text or sentence does not have to but can take on a different meaning.
 
 Article received: April 12, 2022; Article accepted: June 21, 2022; Published online: September 15, 2022; Original scholarly paper

READING PHILIP GUSTON'S LATE PERIOD FIGURATIONS THROUGH THE OPPOSITIONAL CHARACTER OF ART

The purification, purity and limitation imposed by high-art values and modernism have exposed art to a distance from social issues, life and the reality of the world. The fact that art, whose scope has narrowed with the idea of modern art, moves away from the subjects that can have a human and social benefit and is meaningful only through aesthetics of form has brought a formalist understanding of art to the agenda. This understanding was manifested even at the end of the modern art period and found a response especially in American abstract art. The language of the new art, which excludes socio-political issues along with content and narrative, has also fallen away from figurative expressions in this context. In this period, although a desire for purity and purification prevailed through abstract art, various art movements and tendencies that turned their direction back to life itself and figuration attracted attention. Philip Guston has been among the leading artists of this orientation. Guston, who developed a critical language on social, vital and political issues, drew attention to the oppositional character of art and blessed the possibilities of figurative expression in this direction. In this research, it is aimed to deal with Philip Guston's late period figurations through the oppositional character of art. Emphasis is placed on the influence of the artist, who exhibited an extraordinary attitude with his caricature-like and grotesque expressions, on the art circles of his period. In addition to this, attention has been drawn to the controversial nature of his works, which are examples of the historical relationship of art with the opposition, which continues to be effective even today. Keywords: Philip Guston, Figuration, Art and Opposition

Görsellikten Eyleme: John Guare’in Altı Derecelik Ayrılık Oyununda Ekfrasis İzleri

John Guare’s renowned play Six Degrees of Separation (1990) exposes the protagonist Paul’s endeavour to assert his identity and find a place, by creating false identities, in the world of high-class individuals which is bounded by class, race, and sexual orientation. In delineating his journey into modern American culture, John Guare employs Kandinsky’s double-sided painting along with many other artistic devices such as flashbacks, flashforwards, cross-cutting, and different narrative techniques. Kandinsky’s painting, which dominates the stage with its slow movement, mirrors the varied aspects of social life where the characters hold no enduring and steady connection with reality. This painting also projects the emotional and psychological dilemma of the characters in the social life where they lose their sense of humanity and moral ideals. In this respect, this paper intends to explore how Kandinsky’s ideas of art and his double-sided painting constitute the quintessence of the play, reflecting the materialism of decadent contemporary society and its emotional and psychological impacts on the characters.

“The Sign of Scales” by Maxym Rylsky: The Articulation of Trauma of Socialist Realism and an Attempt to Overcome it

This article aims to analyze the first Socialist Realism poetry collection of Maksym Rylsky “The Sign of Scales” which was written after poet’s six-months imprisonment in 1931. Also, this investigation outlines the strategies of articulation of Maksym Rylsky’s trauma of the forced transition to Socialist Realist, as well as the ways of expressing himself in the works of the Socialist Realism collection as a Neoclassical poet. “The Sign of Scales” demonstrates the poet’s ability to balance allowed and desired topics. This poetry collection has two readers. The first one is the Soviet authority. For this reader, Maksym Rylsky glorifies socialist labor, scientific progress, and Vladimir Lenin’s achievements. Confessing past errors, he considers his works of the 1920s an ideological mistake. Another recipient of “The Sign of Scales” is a well-educated neoclassical reader who can recognize the hidden references of the poems. In the poems of “The Sign of Scales”, Rylsky implements the images, citations, and allusions to the European literature, the works of the 1920s Neoclassicists, and the translations from French literature / and their translations from French. To go beyond Sovietism, the author appeals to ideologically neutral and philosophical poetry. The poet aims to keep the memory of the core images of Neoclassicism. For this purpose, he numerously names them even in a negative meaning. Though “The Sign of Scales” is a collection that witnessed a Socialist Realist break in Maksym Rylsky’s works, the author found the ways to express himself as a Neoclassical poet even in this poetry collection. It means that Maksym Rylsky never betrayed the idea of high art and remained the representative of Kyiv Neoclassicism even in the Soviet 1930–1950s.

PECULIARITIES OF THE MUSICAL LANGUAGE AND COMPOSITION IN SNEJANA PÎSLARI’S COMPOSITION FOR PIANO TREI PORTRETE MUZICALE: СHOPIN, SKRIABIN, RACHMANINOV

The author of the given article analyzes the piano composition by Snejana Pâslari „Trei portrete musicale” examined in terms of its content and form. The conclusion is made that the musical language and the specifics of composition and dramaturgy of this composition are determined by its artistic idea and the composer’s individual style related to the implementation of the late romanticism stylistic paradigm.

СТИЛІСТИЧНІ ФУНКЦІЇ АНТРОПОНІМІВ У МОВОТВОРЧОСТІ ВОЛОДИМИРА ЛИСА (НА МАТЕРІАЛІ РОМАНУ «СОЛО ДЛЯ СОЛОМІЇ»)

The article is dedicated to the study of stylistic functions of anthroponyms as an important means of traditional and innovative text creation in the novel "Solo for Solomiya" by Volodymyr Lys. A group of anthroponyms are represented by "names of historical figures", "culturological names" used for the purpose of temporal marking is singled out. It is proved that literary and artistic anthroponymic units are a coherent system, thanks to which the ideological and artistic idea of ​​a prose writer is realized. In the course of the research it was found out that the following model structures predominate among anthroponyms: one-token ones – “names”, “surnames-fictonies”, “andronyms”; two-lexemes – "name + surname", "name + surname," name + patronymic "," name + andronym "," surname + surname "," qualitative expression and surname "," Qualitative expression + name "; three tokens – "name + name + surname", "name + patronymic + surname", "qualitative expression + name + andronym". It is determined that anthroponyms have a certain purpose of realization of the author's idea and perform various stylistic functions, in particular nominative, characterizing, concretizing, evaluative, emotionally expressive. It is proved that the main function of naming, which can be enhanced by characterization and identification. This is observed, for example, in such a structural variation as "anthroponym + appendix (common or uncommon)", which is motivated by humorous characterization of the hero, the introduction of additional information (position, indication of family relationships, social status), contemptuous and ironic characterization. Emphasis is placed on the fact that in the introduction of literary and artistic anthroponyms the author uses stylistic figures, including amplification and parcelling. In addition, it is determined that diminutive suffixes are one of the means of creating literary and artistic anthroponyms in the novel "Solo for Solomiya" by Volodymyr Lys and create certain emotional nuances – affection, smallness, kindness, if necessary to give the portrayal a trusting character.

The embodiment of postmodernism categories in the artist’s biography

The thesis objective is to reveal the specifics of implementing postmodernism categories in the artist’s biography via involving the conceptions of culture theorists. The research methodology: a complex of approaches has been applied for the integral comprehension of the given issues, i.e. biographical, analytical, historical, hermeneutic, systemic, the one of theoretic generalisation and some others. The scientific novelty. For the first time ever, national humanitarian studies are represented by the thesis identifying the issue of a creative personality’s biography from the position of implementing postmodernism basics. Conclusions. Postmodernism is the artistic and aesthetic trend of the late XX – early XXI centuries being characterized as a unique outlook focused on sociocultural renewal, seeking the progressive ways of spiritual evolution and denying the traditional ideas of art. The aforementioned trend absolutizes anthropological issues, thus, its predominant task is the grasp of the creative personality essence as the driving force of ontological processes. The artist’s biography becomes the central personality-focused genre able to meet the philanthropic needs of the century. Its content, purpose and existence conditions are presupposed by the impact of the basic philosophical categories of the era: pluralism, play, irony, intertextuality and some others. Pluralism is revealed via admitting the truthfulness of multifaceted views, different interpretations of the master’s biography and the multitude of presentation variations depending upon the intellectual and moral level of the audience. The play illustrates the artistic practice sense: freedom, the ability of meanings, contexts, symbols and codes amusement. It deprives the biography of ratiocentrism, excessive seriousness and contributes to the character’s profound representation. Irony is a humanistic definition focused on restoring the master’s genuine essence, though in a non-typical, occasionally frivolous form. This viewpoint renews the image and the personality’s achievements in a multifaceted, emotional, and outrageous way, as well as addresses them to the future generation of the recipients. Intertextuality is the master’s demonstration embracing the writings and semantics of the biographies accomplished by scholars of the preceding eras. A contemporary author multiplies different experiences and provides modern awareness being interpreted from the position of postmodernism paradigm. Keywords: the artist’s biography, postmodernism, pluralism, play, irony, intertextuality.

What Kind of Lithuania are We Fighting for When We Fight for the Lithuanian Freedom Fighters’ Memorial?

Efforts to build a memorial to Lithuanian freedom fighters in Lukiškės Square in Vilnius have been fruitless for the third decade. During this period, as many as four competitions for artistic ideas were organized, but due to the dissatisfaction of various groups in society, no project was implemented in the square. The article analyzes the 2012-2020 period, which is framed by two state-organized competitions. Applying Ernesto Laclau and Chantal Mouffe’s discourse theory, it is aimed to open the very core of the conflict and to explain how and what historical memories of the Lithuanian freedom fighters are articulated by competing discourses consisting of linguistic and non-linguistic practices. Statements of politicians, cultural professionals, and the public in the national media and their modus operandi allow to identify opposite concepts of freedom, state, freedom fighters, monument, and its functions, and to single out the essential trophy of the competing discourses, an idea on which the public sharply disagrees.

The Chronicle of Digital (Media) Arts in Contemporary Indonesia: The Shifting of Focus Toward Society 5.0

This article describes the advances in the genealogy of digital media art in Indonesia. The evolution of digital art or works of digital art is inseparable from the growth of the art itself. This article chronologically describes the development of art in Indonesia, from the starting point of the advancement of art in the Dutch colonial era to digital art. The method used in this study is a digital meta-analysis with an exploratory qualitative approach-data collection technology by observing digital metadata to develop media and participatory art in the Indonesian art community. The result is technology-based art (digital art). This article is the essential concept and idea of today's digital artists, with works of art not just produced in the platform or digital format. Creating a work of art using the concept of digital thinking as a form of artistic appreciation is the basis for making a digital work of art. Digital media art is the foundation of thinking, thinking, and interaction. This modern society is shifting toward society 5.0. In conclusion, the development of the Indonesian digital art community resulted in an extraordinary digital revolution in Indonesia. By placing 'digital' and 'revolution' into a critical perspective. The digital artist community continues to produce technology-based artworks to communicate their work to the public by holding art exhibitions for Indonesian artists as a collective social movement with digital platforms.

The Self and its Applications in Graphic Design

The self has its own role in possessing tools and engines to build the new idea in art in general and the Graphic Design in particular, and the self is present in the performance and work of the contemporary designer today, especially through the method stemming from the experience, but all of them may be subject to the logic of experimentation and try to descend into the rhetorical arena directed for the sake of Influence in the recipient. So we can ask a question that it would be the issue to discuss in this research;how can the self plays as an actual practicing in the contemporary graphic design with experimentation and practicing?